Ah the unwanted guest. It’s been the subject of many a movie. You know the kind: Messy doesn’t respect your privacy stops up the toilet has sex with someone in your living room using butter and nearly burns the house down. That’s Dupree (Wilson) to a tee and for newlyweds Carl (Matt Dillon) and Molly (Kate Hudson) having Dupree in their house is downright disastrous. At first Carl is psyched to have his best man as his couch guest while Molly is less than enthused with Dupree’s well-meaning antics. But when Molly starts feeling abandoned by Carl’s workaholic tendencies—as he in turn tries to impress his demanding new father-in-law (Michael Douglas)—suddenly Dupree’s good-natured personality and carefree wisdom is comforting to Molly much to Carl’s chagrin. But don’t fret. This three’s-a-crowd scenario will work out some kind of resolution as the loveable guest shows how a little inner Dupree-“ness” might just be one of life's hidden secrets. With Dupree Wilson is attempting to break away from the buddy comedies he’s known for such as Starsky and Hutch and Wedding Crashers in which he mostly plays the pithy straight man. There are definitely moments of true Wilson brilliance in Dupree especially when he’s avoiding a building security guard by throwing “seven different kinds of smoke” at him. But playing off someone slightly wackier than himself is really Wilson’s forte and in trying to carry a whole comedy on his own he’s not nearly as successful as say Jim Carrey or even Jack Black. It also doesn’t help that Hudson and Dillon aren’t able to pick up the slack. Hudson is appealing as the beleaguered Molly and Dillon seems to be getting better looking with age—but together they are one big ball of bland especially Dillon who is sorely miscast as the straight guy. On the other hand Douglas does a nice turn as the overprotective daddy who can’t let his little girl go. Basically Dupree is Wilson’s big vanity project. As the film’s main producer the funnyman shopped the script by first-timer Mike LeSieur around and got a deal right away—no doubt based on Wilson’s previous moneymaking comedies. Directors Joe and Anthony Russo brothers best known for helming Welcome to Collinwood as well as several episodes of TV’s Arrested Development do the best they can with the Dupree material. But it’s a shame Wilson doesn’t have the same discerning tastes as his frequent collaborator director Wes Anderson (The Royal Tenenbaums). You Me and Dupree is just well ordinary and no amount of Wilson mad-cap energy and wily antics can raise it up into the comedic stratosphere.
Based on the bestseller by Nicolas Sparks the film begins with Duke (James Garner) and Allie (Gena Rowlands) an inseparable couple living in a nursing home. While Duke remembers their life together Allie who suffers from progressive dementia does not. Their only bond is a faded notebook from which Duke reads to Allie every day telling her the same story over and over. It's a sweeping tale of two South Carolina teens country boy Noah (Ryan Gosling) and city gal Allie (Rachel McAdams) who spend one glorious summer in the early 1940s falling madly in love. Unfortunately the couple is soon separated first by her disapproving parents and then by World War II but after seven years apart after taking different paths they are passionately reunited. There's a catch though; Allie is now faced to choose between the man she once loved and the successful businessman (James Marsden) she is engaged to. It's really no surprise who the young Allie chooses in the end--but for Duke the only thing that keeps him going is the fact that every day somehow through the power of this story the mentally impaired Allie miraculously remembers their love if only for a very brief moment before slipping back into oblivion. Tears being jerked from your eyes yet?
The talented cast certainly elevates The Notebook's romantic drudgery. McAdams takes a departure from all the Mean Girls she's played lately (including The Hot Chick) and easily wins you over as the spirited young Allie while the usually intense Gosling also tackles something lighter so to speak than his previous darker roles such as his Jewish-turned-American Nazi leader in The Believer. While infusing a certain sense of brooding and melancholy into Noah especially in the years he spends pining for Allie Gosling manages to exude Noah's genuine warmth and sensitivity as well. And between the two of them real sparks fly as the actors paint a fresh and inviting picture of young love that stands the test of time. Marsden is completely wasted however as Allie's fiancé Lon a upstanding Southern gentleman Allie's parents expect her to marry who offers little as to why Allie should stay with him. As the older contingency veterans Garner and Rowlands who take the sappiest material and turn it into something meaningful inspire some truly heart-ripping moments as the aging couple holding onto their love as tight as they can. In the supporting cast Joan Allen has some shining moments as Allie's uptight mother with a secret of her own.
In bringing the popular novel about enduring love to life director Nick Cassavetes (Unhook the Stars) may have used his own experiences having seen his parents--the late John Cassavetes and his lady love and muse Gena Rowlands--play out their own real-life love affair. Cassavettes gets to the heart of the material right away and permeates the screen with the beautiful surroundings of South Carolina where The Notebook was filmed. We glide through lush moss-filled swamps and sleepy Southern towns marvel at languid shots of the South Carolina coastline. It's very clear Cassavetes has a way with actors much like his father did gently coaxing realistic performances from his young somewhat untested leads while allowing old guards like Garner and Rowlands to simply work their magic (imagine telling your Oscar-nominated mother how to act. Right). The problem is the story itself which not only offers nothing new to the romance genre but also isn't very compelling. There are no great tragedies (save perhaps for the whole dementia thing) no real villainous presence to keep the lovers apart no peril at all. It's boy-meets-girl boy-loses-girl boy-wins-girl-back--ho-hum. Where's the sudsy soap opera when you need it?